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A sensual and hypnotic masterpiece, La Belle Noiseuse luxuriates in its four-hour run time while holding audience attention.
All Critics (29)
| Top Critics (11)
| Fresh (29)
| Rotten (0)
| DVD (2)
La Belle Noiseuse will immerse you in a one-of-a-kind portrait of the artistic process.
In its own way this sensual, granular experience is just as pure and obsessive as Rivette's less hospitable masterpieces, and almost as mysterious.
It's a lighter film, but by no means slighter, more like the difference between a Henry James short story and an extended performance piece.
Rivette's superb sense of rhythm and mise en scene never falters, and the plot has plenty of twists.
As impeccably shot as its subject deserves, the film is more accessible than most of Rivette's work, with characteristically playful passing nods to the relationship between life and performance.
This is a movie about the making of a masterpiece which is itself a masterpiece, one of the truly great movies about artistic creation.
Jacques Rivette's magisterial portrait of the creative process lays bare an artist's conflicted responsibilities toward life and art.
Long takes, slow zooms, and deep focus give 'La Belle Noiseuse' a sense of disciplined stillness, all the better to record the meticulous efforts of its two chief subjects as they make art out of life.
Like all great works of art, the film has a purity of line and structure as it plays out its theme.
Jacques Rivette's much praised Cannes Grand Prize winner vacillates between genuine insight and didactic mystique-of-the-artist bull****.
I won't explain what happens with the masterpiece; even at four hours, the film cooks up a certain amount of suspense and surprise.
An absolutely fascinating look at an artist inspired by beautiful woman to deliver more art when the muse is not quite ready to be as museful as he might like.
La Belle Nosieuse is fours long, slow moving and mezmerizing. I wish I knew how Jacques Rivette pulls that off. The story of a blocked elderly genius artist Frenhofer (Michelle Piccoli) who is brought back to creative life by a young fiery woman Marianne (Emmanuelle Beart in her second movie) who becomes his model and muse. Marianne is the partner of a much young artist, and their relationship changes for the worse when she commits body and soul to modeling for the old guy. The gorgeous Beart is naked for much of the film, and though she's beyond stunning, somehow it's not as hot as you would imagine, just interesting. PIccoli's loyal wife and former model (Jane Birkin) is no longer inspiring him, so she's devastated yet empathetic, making her the perfect wife for an artist.
The film touches on lots of rich emotional ground, about the evolving nature of long relationships, youthful artistic vision vs. autumnal artistic closure, the creative process and its volatility and the toll that art takes on love. Huge long sequences that feel almost 'real time' show the artist sketching in long drawn out shots, with the intense sound of a scratching pen and shots of Beart straining in a series of excruciating poses. These moments are utterly engrossing and take a large bulk of the film's running time, depicting an endlessly complex collaboration between artist and model, Piccoli and Beart are totally committed to their roles and boundlessly interesting throughout. The twists and turns of their relationship are riveting or Rivette-ing.
Rivette doesn't even show the final painting to the audience, (though the model and the wife see it, their reactions are unforgettable) and it didn't annoy me! It's almost too sacred to show. This snail's paced film will not appeal to everyone, it lacks the thrills per minute of The Avengers, and is even more slow paced than lugubrious flicks like Melacholia and The Tree of Life. However, if you're into thinking about art and you've got four hours to spare, your patience will be richly rewarded. Noiseuse is one of the crown jewels of the French cinema.
Action? None. Plot? No. Dialogue? Not much. And yet, I found it fascinating to watch the creative process. I enjoyed watching the two main characters interact. As Edouard (Piccoli) exerted his will over Marianne (Beart), and her resistance gave way to entering into the collaborative process, then Edouard also became more inspired and began to demand more of Marianne. And yes, that Emmanuelle Beart was nude for long stretches more than made up for the weakness of the script. Scenery? Ahhhh!
[font=Century Gothic]"La Belle Noiseuse" and "L'Enfer" are two French movies starring Emmanuelle Beart, directed by two very different directors who emerged from the French new wave, Jacques Rivette and Claude Chabrol, respectively.[/font]
[font=Century Gothic][color=blue]"La Belle Noiseuse" starts out with a young artist and his wife, Marianne(Beart) visiting legendary artist, Frenhofer(Michel Piccoli), in the countryside. Frenhofer mentions a long abandoned project - La Belle Noiseuse, a painting of a 17th century courtesan. The young painter, Nicolas, offers his wife as a model without asking her. This of course angers her to no end but nonetheless she returns to pose the following morning. [/color][/font]
[font=Century Gothic][color=blue]I liked "La Belle Noiseuse" in that it tries to convey the artist-model relationship and how it evolved as the painting continued. It is a beautiful looking film and I especially liked it when it got both artist and model in the same frame. It also examined the relationship of an artist to his/her spouse and how self-involved the artist can get. So much so, that the spouse needs to find an individual life. Frenhofer's wife(Jane Birkin) seems to have a thriving taxidermy hobby on the side and Marianne may have found a path by the end of the movie. Emmanuelle Beart gives a very courageous performance.[/color][/font]
[font=Century Gothic][color=red]"L'Enfer" starts out with the marriage between a happy young couple, Paul(Francois Cluzet, who reminded me of a young Robert DeNiro) and Nelly(Emmanuelle Beart). Paul is the owner of a thriving resort hotel but the stress and lack of sleep is driving him to become very, very jealous of his wife. What we see is from Paul's point of view and thus we get to see his growing madness but I do not like the idea that madness can be used as an excuse for Paul's abusive behavior. By abusive, I mean that he tries to control Nelly's movements and I find that rather unpleasant. Plus, this is a shoddily shot movie.[/color][/font]
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